BENGALURU: In recent years, the global phenomenon of K-pop has captivated viewers worldwide, showcasing a vibrant and modern aspect of South Korean culture. Bands like BTS and BLACKPINK have become household names, their music videos accumulating billions of views, and their dance moves replicated in countless fan videos. But beneath the dazzling veneer of K-pop, lies a rich and diverse cultural heritage that is unknown to much of the rest of the world.
Traditional Korean dances like Seungmu and Salpuri are rooted deeply in the country’s history and art which Bengaluru’s cultural landscape experienced for the first time with Yi (Lee) Chul-jin, a traditional Korean dancer in collaboration with Kathak dancer Aditi Bhagwat. “The fact that they are watching my dance feels really good. In the beginning, I wanted to be a Buddhist monk but then I found the Seungmu dance. So, I think this is my fate,” shares Chul-jin, who was in India for the first time.
Chul-jin’s first visit is not just about showcasing the dance but it’s a mission to foster a traditional dance network across Asia, creating a cultural bridge through the universal language of dance. “The first time I introduced my dance in Europe, they looked like they didn’t understand the dance very well. Since then, I have tried to concentrate towards showcasing my dance in Asian countries because there are so many traditional dances among Asian countries, even India that are interconnected.
I really want to create an exchange in these traditional dances among Asian and South Asian countries,” says Chul-jin. Seungmu is one of the most representative folk dances of Korea, performed by a dancer dressed in a Buddhist monk’s attire. Although commonly referred to as ‘monk dance’, Seungmu is not a dance formally associated with Buddhist rituals performed by a monk.
“The attire resembles a Buddhist monk’s in a way – white robe and a red stole that goes across his body that represents the sun. Pretty much like how you wear the sun and moon in Bharatanatyam. It is inspired from the Buddhist monk’s attire but it’s not something that Buddhist monks wear in temples,” says Bhagwat who first connected with Chul-jin during the lockdown when she presented a Kathak dance for the Asia Dance Festival.
Bhagwat emphasises the meditative and introspective nature of these dances, noting their artistic rather than religious essence. “I was in conversation with Lee to sort of facilitate more information on the art form, costume, symbolism and the tradition of involving Buddhist ideas into the dance. But none of it is religious, it’s more of an artistic property in Korea but stems from the basic idea of holding Buddha in your heart and in your mind and concentrating within,” explains Bhagwat.
She further observes that Korean traditional dance, unlike the globally popular K-pop, remains largely unknown outside Korea. “So many people abroad and even in Korea know about Kathak and Bharatnatyam but nobody knows about Seungmu,” says Bhagwat.
Seungmu showcases a complex rhythmic structure and elaborate choreography, expressing life’s emotional spectrum. Similarly, Salpuri, involving a scarf, originally a symbol in Korean Buddhist shamanism for cleansing impurities, has evolved into an artistic performance. “Even the gaze is very inward, focusing on the inner meditative moment, not so much catering to the audience, unlike ballet or other dance forms which are very upfront like that.
The Korean style is closed and inward. So in dance too, you can find him looking at the floor and more in communication with himself and his own body. That is traditional Korean dancing essentially,” says Bhagwat, who believes that such art forms need more support as well.